The quality of the version MUBI put up was a bit dodgy, looking like it was transferred from an old VHS. But this remains a striking and gripping film which has much to say about how the flexibility of identity can be necessary for survival in times of extreme conflict (almost like Blind Chance but to a greater degree). Final scene showing the real-life Solomon looking at his past self is incredibly moving.
It's hard not to be mesmerized by the innocent charm that Marco Hofschneider imbues to his portrayal of Solomon Perel, a young boy who sacrifices his identity to survive the horrors of World War II. Unlike other war films which bury you in a quagmire of despair, there is a youthful hopefulness and even humour in this masterpiece without sacrificing the gravitas of its subject.
In a way the story is so fantastic and unbeliveable that one could be lead to think that this was the Jewish Forrest Gump where our hero end up in the center of major events. Then again, life is stranger than fiction and WW2 was filled of lifeshaking events. Worth to see only for the romantic dance scene with Hitler and Stalin. Delpy as devoted brainwashed Nazi is an added bonus.
Algumas partes do roteiro poderiam ser menos forçadas, apesar de nelas se ver toda a tentativa de fazer um bom filme comercial sobre o assunto. A história é, de fato, o grande trunfo — e nela se lembra novamente o horror que foi o Holocausto. Talvez um filme importante de voltar a circular nos dias atuais.
Traces the incredible true story of Solomon through Europe during the Holocaust. Explores themes of religion, authority and totalitarianism, and most importantly, the flexibility and navigation of one's identity. In placing uncanny emphasis on identity, on coming of age, on sexual awakening, Holland explores the relationship between the individual and the moral complexity, absurdity and fatalism of war. 3.5
A seminal film on the plight of Jews and the surging problems of identity (racial, ethnic, cultural, ideological) which if exacerbated lead to the tragedy that the film unfolds and is told, at moments, in academic style, yet with bravura and surreal scene insertions. While the latter do not dazzle, Holland's tribute to Klimov's 'Idi i Smotri' is obvious and important. Well-acted, it is a tribute to collective lament.
Muchas secuencias memorables, como el baile entre Hitler y Stalin previo a que se enemistaran, el saludo Nazi que se convierte en un pequeño baile de tap y la pesadilla en que Hitler cubre sus genitales para ocultar su propio origen judío. El nivel de neurosis que experimentó Salomon debe haber sido monumental, traicionando patria, religión y raza con tal de sobrevivir. Gran película.
On the roles we all play to survive, helplessly becoming what we detest and trying hard to preserve our true self. I liked how it showed the plasticity of values, actions, and identity; but how do you escape/alter your own body? It was interesting to see how it juxtaposed communism with fascism. During the war, the appearance of one’s Penis could change one’s fate.